Plaster sculptures

George MINNE (1866-1941), - George MINNE (1866-1941), patinated plaster Adolescent, signed George MINNE (1866-1941), gepatineerd gips Adolescent, getekend H 46 cm

Reinhold Begas - Reinhold Begas Kaiser Wilhelm I on horseback, led by the Allegory of Victory Bronze, finely chased, golden brown patina. Round foundry mark Gladenbeck. H 40, W approx. 22, D approx. 32 cm. Berlin, Gladenbeck foundry, around 1900. This is one of the rare reductions of the central equestrian motif from the Kaiser Wilhelm National Monument. The sculptor Reinhold Begas and the architect Gustav Halmhuber erected the 21-meter-high monument between 1895 and 1897 on Berlin's Schlossfreiheit. Reinhold Begas was born in Schöneberg on July 15, 1831. As the son of the German painter Carl Joseph Begas, he was the scion of a dynasty of artists spanning several generations and therefore came into contact with the fine arts at an early age. Unlike his famous father, however, Reinhold Begas was more enthusiastic about sculpture from the outset, so that he received his basic training not in his father's workshop, but with the sculptor Ludwig Wilhelm Wichmann in Berlin. In 1846, he began his studies under Christian Daniel Rauch at the Berlin Academy of Art, which at the time had Johann Gottfried Schadow, one of the greatest sculptors in German art history, as its director. Reinhold Begas himself achieved his first success with his plaster group Hagar and Ishmael and was able to visit Rome on a scholarship from 1856 to 1858. In the cosmopolitan city, rich in tradition and art, he made the acquaintance of artistic personalities such as Arnold Böcklin, Heinrich Dreber and Anselm Feuerbach and created his marble group Amor and Psyche in the style of the Swiss sculptor Ferdinand Schlöth. Under the influence of his experiences in Rome, not least through his study of the works of Gian Lorenzo Bernini and Michelangelo, Reinhold Begas leaned towards a baroque style that ran counter to the strict classicism that still prevailed. In 1861, he received a call from the still young Grand Ducal Saxon School of Art in Weimar, where he met his Rome acquaintance Böcklin again as a teacher and also got to know Franz von Lenbach. Reinhold Begas held his teaching post until 1863 and then returned to Berlin. Although there were repeated short stays in Rome and Paris, Prussian Berlin remained the home of the artist, who earned the goodwill of the Hohenzollerns with his undisguised pathos and received numerous prestigious commissions from Kaiser Wilhelm II. The Kaiser Wilhelm National Monument, unveiled in 1897, was designed by Reinhold Begas together with Gustav Halmhuber in the neo-baroque style; it survived two world wars but was destroyed in the GDR in 1950; only three figures were preserved.

Anthony LUYCKX (1922-2017), - Anthony LUYCKX (1922-2017), dark brown patinated plaster bust of a man's head, signed Antoon LUYCKX (1922-2017), donkerbruin gepatineerde gipsen buste van een mannenhoofd, getekend H 42 cm

George MINNE (1866-1941), - George MINNE (1866-1941), patinated plaster sculpture of a girl's head 1937, signed George MINNE (1866-1941), gepatineerde gipsen beeld van een meisjeshoofd 1937, getekend 25.5 x 17.5 x 22 cm

Lot: bisque statuette: Woman with veil, signed Escudero( ht17 cm); a bronze element featuring Minerve(diam: 11,5cm), a plaster profile of Napoleon under ebony glass frame (diam:11,5 cm - frame dim: 21 x 20,5cm) and a plaster bust: Child. Height: 46 cm

SCULTURA - ONE LIGHT SCULPTURE 2000s. Wooden frame silvered crystal stucco spatula. Height 240 cm. A LUMINOUS SCULPTURE 2000's. Wooden structure mirrored crystal spatulated plaster. Height 94.5. inches.

Ludwig Wilhelm Wichmann - Bust of the opera singer Henriette Sontag Bronze with fine green-gold patina. Engraved "W.Castner fec:" to the back of the shoulder. H 32 cm. With green serpentine base, total height 46 cm. Foundry Friedrich Wilhelm August Castner, the model by Ludwig Wilhelm Wichmann, 1827. Born in Koblenz, Henriette Sontag (1806 - 1854) was sent to the Prague Conservatory at the age of 16 to study singing, where Carl Maria von Weber discovered and supported her. After successes in Prague and Vienna, she received a call to Berlin, to the Königstädtisches Theater. She was appointed court and chamber singer. This was followed by performances on all the major European stages. Prince Hermann von Pückler (1785 - 1871) admired her and ordered a larger version of the cast from Wichmann, which is now displayed in the rose kiosk in Branitz Castle Park. The Potsdam-born sculptor Ludwig Wilhelm Wichmann (1788 - 1859) learned his art as a pupil of Johann Gottfried Schadow. He spent time in Paris from 1809 and worked under François Bosio and Jacques Louis David. Wichmann's plaster bust of the singer from 1827 is preserved in the collection of the Nationalgalerie Berlin (inv. no. G 34). The following year, Wichmann presented a marble version at the Berlin Academy Exhibition. This bronze bust of Henriette Sontag is evidence of Wichmann's collaboration with the Berlin sculptor and bronze caster Friedrich Wilhelm August Castner. Literature Cf. Maaz (ed.), Nationalgalerie Berlin. Inventory catalog of the sculptures. The XIXth Century, Berlin-Leipzig 2006, cat. No. 1383.

MARTI LLAURADÓ MARISCOT (Barcelona, 1903 - 1957). "Portrait of Gemma". Plaster. Work catalogued in "Martí Llauradó". Josep Porter i Moix, 1993, p. 38, n.47. Measurements: 31 x 25 x 18 cm. This sculpture clearly shows the advance that Llauradó's work represented with respect to Noucentisme. The sculptor left behind the archaising and symbolic idealisation of the previous generation, moving towards capturing an intimate portrait through a more descriptive and narrative gaze, more realistic in short, which nevertheless does not forget the formal bases learned from the noucentistes. Thus, the figures are rotund and monumental, an effect that Llauradó does not achieve through traditional procedures, such as a low viewpoint, but through a totally sculptural sense of the figure, with volumetric and forceful forms, precise and clear and at the same time softly idealised, going beyond the portrait to capture an ideal through an everyday image. The sculptor Martí Llauradó worked during his youth with Joan Borrell and Joan Rebull, from whom he received important influences. In 1929 he made his debut with his first solo exhibition in Barcelona, together with Joan Commeleran. From then on he continued to exhibit his work and to take part in competitions, and in 1933 he was awarded a prize at the Exhibition of the Nude at the Círculo Artístico in Barcelona. The following year he won the first medal at the National Exhibition of Fine Arts in Madrid. In the post-war period he won other important prizes in cities such as Seville (for religious art), Madrid and Barcelona, and was invited to take part in two editions of the Venice Biennale. Llauradó was a leading figure of the young generation of post-noucentisme, and tempered the stylised idealism of the noucentistes with an accentuation of realism. He is currently represented at the Museu d'Art Contemporani de Barcelona.

Leon SARTEEL (1882-1942), - Leon SARTEEL (1882-1942), patinated plaster girl's head, signed Leon SARTEEL (1882-1942), gepatineerd gipsen meisjeshoofd, getekend H 39 cm

Evariste DE BUCK, patinated plaster relief of Emiel Verhaeren, signed Evariste DE BUCK, gepatineerd gipsreliëf van Emiel Verhaeren, gesigneerd 35 x 25 cm

ANONYMOUS Hitchcock Plaster head, on the back G2 crack Height : 17 cm

Jean-Baptiste REVILLON (1819-1869) - Jean-Baptiste REVILLON (1819-1869) "Calvary Plaster cast bas-relief, signed and cold-engraved, under a domed globe and Louis XV frame (minor damage), signed and dated. Dimensions of frame: 63 cm x 32 cm

Plaster bust of an Atabier, drawn J Benoit 1924 Gipsen buste van een Atabier, getekend J Benoit 1924 32.5 x 31 x 23.5 cm

Leonard DE VISCH (1888-1930), - Leonard DE VISCH (1888-1930), patinated plaster bas-relief Le Retour, signed Leonard DE VISCH (1888-1930), gepatineerd gipsen basreliëf Le Retour, getekend 32 x 54 cm

Patinated plaster bust of Beethoven. 20th century. Height: 33 cm.

AFTER INNOCENZO SPINAZZI- A BRONZED PLASTER BUST OF DUKE PIETRO LEOPOLDO (LATER EMPEROR LEOPOLD II) - AFTER INNOCENZO SPINAZZI (1726-1798) A BRONZED PLASTER BUST OF DUKE PIETRO LEOPOLDO (LATER EMPEROR LEOPOLD II) LATE 18TH/EARLY 19TH CENTURY 84cm high, 55cm wide Provenance: Pandolfini Casa d'Aste, Florence, Da mercante a collezionista. Cinquant'anni di ricerca per una prestigiosa raccolta, where purchased by Count Manfredi della Gherardesca, 11 October 2017 lot 26. After the 1773 marble bust by Spinazzi, now housed in the Pitti Palace.

Troiano TROIANI (1882-1963?) Sculpture in patinated plaster Signed Height: 27 cm

Thein, Heinrich - Elf Kohlezeichnungen - 1888 - 1969, one of the most expressive German small sculptors of the 20th century, trained as a potter and modeler at the Georg Bankel stove factory in Lauf/Pegnitz, then attended the Kunstgewerbeschule in Munich, together with his father Thein founded an art pottery in Nuremberg in 1913. In 1925, Thein was appointed artistic director of the Sächsische Ofen- und Wandplatten-Werke in Meissen, where he was responsible for the modelling department and worked as a teacher at the factory school, from this creative period mainly small sculptures - some signed - by his hand are known, while his designs for stoves and architectural ceramics remained largely anonymous, T.s best-known work in Meissen is the Benno Altar, which he created free of charge in 1934 for the Catholic parish church of St. Benno Meissen in honor of the Holy Year 1933/34, this side altar was demolished again in 1958/59 and only the figure of St. Bishop Benno has survived, in the parish church of St. Benno Meissen you can find works by The. In 1945, Thein moved to the State Porcelain Manufactory in Meissen as artistic director, where he created several small porcelain sculptures and was also responsible for vocational training, who had previously devoted himself exclusively to small sculptures, in 1946 produced the model of the large sculpture "Aufbau", a memorial for the reconstruction of the Meissen Elbe Bridge, which was the first of the large bridges destroyed in the last years of the war to be rebuilt in the Soviet Occupation Zone in 1945/46. 1949 at the bridgehead and was then to be executed in giant stone granite in one of the sculptor's workshops, but was forgotten due to lack of money and fell into disrepair, Thein moved to Nienburg/Weser on May 1, 1949 as artistic director of the Rohna stove factory, and from 1951 T. lived in Haßfurt, where he worked as a freelance artist until the end of his life. There, too, he received great recognition and created sculptures for public spaces, such as the fountain in the rose garden, around 1960 he redesigned the house chapel in the Salesianum, since 1980 the state vocational school in Hassfurt has borne his name, "Flucht", "Betende", "Maler", "Gang nach Bethlehem", "Am Grabe", "Arbeitsloser", Der Onkel und sein Neffe", Mutter mit schlafendem Kind", "Fließband", "Bettler", "Am Fließband", charcoal/thin, gray paper, each signed lower right, partly dated (19)31 and partly titled lower left, drawing studies and partly probably templates for sculptures, partly browned, each trimmed and mounted on paper, partly stained, 1x torn, approx. 30x27.5cm, ca. 18.5x16cm, ca. 30x11cm, ca. 30x14.4cm, ca. 18x25.5cm, 26x14cm, ca. 24x11cm, ca. 20x12.5cm, ca. 12.5x14cm, ca. 14x10cm, ca. 13x17.5cm

20th century school. Plaster bust of a man. H. 56 cm. (accidents to an ear and to the base).

Monique GUEBELS-DERVICHIAN (1921), - Monique GUEBELS-DERVICHIAN (1921), white patinated statue of a young lady with skirt Monique GUEBELS-DERVICHIAN (1921), wit gepatineerd beeld van een jongedame met rok H 79 cm restauraties, restorations

Head of Quevedo . Sculpture in plaster, SS. XIX-XX. Defects. Height approx: 38 cm